Bøger af Edna Ferber

"Fanny Herself" by means of Edna Ferber is a charming novel that delves into the lifestyles of Fanny Brandeis, a younger Jewish woman developing up in the early twentieth century in Winnebago, Wisconsin. As Fanny navigates the challenges of adolescence and younger maturity, she grapples with questions of identity, ambition, and the pursuit of success in a rapidly converting world. From her humble beginnings working in her father's keep to her upward thrust as a success businesswoman within the male-dominated international of publishing, Fanny faces numerous obstacles and setbacks alongside the manner. Yet, with willpower, resilience, and an eager mind, she overcomes adversity to attain her dreams. Set against the backdrop of a vibrant immigrant network and the bustling streets of Chicago, Ferber's novel paints a bright portrait of turn-of-the-century America, shooting the spirit of the instances with warmth and authenticity. Through Fanny's journey, Ferber explores issues of own family, friendship, love, and the pursuit of happiness, supplying readers a poignant and insightful glimpse into the human revel in. At its heart, "Fanny Herself" is an undying coming-of-age story that resonates with readers of all ages, celebrating the indomitable spirit of a young female decided to carve out her personal path within the world.

"Dawn O'Hara" is a singular written by Edna Ferber, an American author acknowledged for her insightful and individual-pushed works. The narrative revolves across the life of the titular character, Dawn O'Hara, a younger and formidable newspaperwoman. Set in opposition to the backdrop of early 20th-century New York City, the novel offers a compelling exploration of Dawn's adventure as she navigates the demanding situations and triumphs of each her private and professional lifestyles. Ferber's storytelling captures the spirit of the times, addressing troubles alongside gender roles, social expectations, and the evolving panorama of journalism. Dawn O'Hara, together with her wit and resolution, will become a relatable and dynamic protagonist. The novel delves into Dawn's stories, relationships, and her quest for achievement in a male-dominated career. "Dawn O'Hara" displays Ferber's keen observations of human nature and her functionality to combination humor with poignant insights. The narrative is not best an individual observe however additionally a social commentary on the converting dynamics of girls¿ roles within the early twentieth century. With a combination of romance, humor, and societal critique, Ferber's artwork remains a noteworthy contribution to American literature, showcasing her expertise for shooting the complexities of lifestyles at some stage in this transformative length.

My Story That I Like Best is a collection of short stories written by Edna Ferber, an American novelist and playwright. The book includes 15 stories, each of which tells a unique and captivating tale. The stories are set in different locations and time periods, ranging from the Wild West to the modern city. The characters in the stories are diverse, but they all share a common theme of human struggle and resilience. Some of the stories are humorous, while others are poignant and thought-provoking. Ferber's writing style is engaging and descriptive, painting vivid pictures of the settings and characters. The stories are easy to read and follow, making them accessible to a wide range of readers. Overall, My Story That I Like Best is a charming and entertaining collection of short stories that showcases Ferber's talent as a writer. It is a must-read for anyone who enjoys classic American literature and short fiction.Additional Stories By Are James Oliver Curwood, Meredith Nicholson, H. C. Witwer. Introduction By Ray Long.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Show Boat, is a classical and a rare book, that has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and redesigned. These books are not made of scanned copies of their original work, and hence their text is clear and readable. This remarkable volume falls within the genres of Language and Literatures American and Canadian literature

Roast Beef, Medium: The Business Adventures of Emma McChesney, a classical and rare book that has been considered essential throughout human history, so that this work is never forgotten, we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

The editor paid for the lunch (as editors do). He lighted his seventh cigarette and leaned back. The conversation, which had zigzagged from the war to Zuloaga, and from Rasputin the Monk to the number of miles a Darrow would go on a gallon, narrowed down to the thin, straight line of business. "Now don't misunderstand. Please! We're not presuming to dictate. Dear me, no! We have always felt that the writer should be free to express that which is in his-ah-heart. But in the last year we've been swamped with these drab, realistic stories. Strong, relentless things, you know, about dishwashers, with a lot of fine detail about the fuzz of grease on the rim of the pan. And then those drear and hopeless ones about fallen sisters who end it all in the East River. The East River must be choked up with 'em. Now, I know that life is real, life is earnest, and I'm not demanding a happy ending, exactly. But if you could-that is-would you-do you see your way at all clear to giving us a fairly cheerful story? Not necessarily Glad, but not so darned Russian, if you get me. Not pink, but not all grey either. Say-mauve." ... That was Josie Fifer's existence. Mostly grey, with a dash of pink. Which makes mauve. Unless you are connected (which you probably are not) with the great firm of Hahn & Lohman, theatrical producers, you never will have heard of Josie Fifer. There are things about the theatre that the public does not know. A statement, at first blush, to be disputed. The press agent, the special writer, the critic, the magazines, the Sunday supplement, the divorce courts-what have they left untold? We know the make of car Miss Billboard drives; who her husbands are and were; how much the movies have offered her; what she wears, reads, says, thinks, and eats for breakfast. Snapshots of author writing play at place on Hudson; pictures of the play in rehearsal; of the director directing it; of the stage hands rewriting it-long before the opening night we know more about the piece than does the playwright himself, and are ten times less eager to see it. Josie Fifer's knowledge surpassed even this. For she was keeper of the ghosts of the firm of Hahn & Lohman. Not only was she present at the birth of a play; she officiated at its funeral. She carried the keys to the closets that housed the skeletons of the firm. When a play died of inanition, old age, or-as was sometimes the case-before it was born, it was Josie Fifer who laid out its remains and followed it to the grave. Her notification of its demise would come thus: "Hello, Fifer! This is McCabe" (the property man of H. & L. at the phone).

Additional Stories By Are James Oliver Curwood, Meredith Nicholson, H. C. Witwer. Introduction By Ray Long.

The editor paid for the lunch (as editors do). He lighted his seventh cigarette and leaned back. The conversation, which had zigzagged from the war to Zuloaga, and from Rasputin the Monk to the number of miles a Darrow would go on a gallon, narrowed down to the thin, straight line of business. "Now don't misunderstand. Please! We're not presuming to dictate. Dear me, no! We have always felt that the writer should be free to express that which is in his-ah-heart. But in the last year we've been swamped with these drab, realistic stories. Strong, relentless things, you know, about dishwashers, with a lot of fine detail about the fuzz of grease on the rim of the pan. And then those drear and hopeless ones about fallen sisters who end it all in the East River. The East River must be choked up with 'em. Now, I know that life is real, life is earnest, and I'm not demanding a happy ending, exactly. But if you could-that is-would you-do you see your way at all clear to giving us a fairly cheerful story? Not necessarily Glad, but not so darned Russian, if you get me. Not pink, but not all grey either. Say-mauve." ... That was Josie Fifer's existence. Mostly grey, with a dash of pink. Which makes mauve.

There are a number of things that are pleasanter than being sick in a New York boarding-house when one's nearest dearest is a married sister up in far-away Michigan. Some one must have been very kind, for there were doctors, and a blue-and-white striped nurse, and bottles and things. There was even a vase of perky carnations-scarlet ones. I discovered that they had a trick of nodding their heads, saucily. The discovery did not appear to surprise me.

When men began to build cities vertically instead of horizontally there passed from our highways a picturesque figure, and from our language an expressive figure of speech. That oily-tongued, persuasive, soft-stepping stranger in the rusty Prince Albert and the black string tie who had been wont to haunt our back steps and front offices with his carefully wrapped bundle, retreated in bewildered defeat before the clanging blows of steel on steel that meant the erection of the first twenty-story skyscraper. "As slick," we used to say, "as a lightning-rod agent." Of what use his wares on a building whose tower was robed in clouds and which used the chain lightning for a necklace? The Fourth Avenue antique dealer had another curio to add to his collection of andirons, knockers, snuff boxes and warming pans.

There is a journey compared to which the travels of Bunyan's hero were a summer-evening's stroll. The Pilgrims by whom this forced march is taken belong to a maligned fraternity, and are known as traveling men. Sample-case in hand, trunk key in pocket, cigar in mouth, brown derby atilt at an angle of ninety, each young and untried traveler starts on his journey down that road which leads through morasses of chicken a la Creole, over greasy mountains of queen fritters made doubly perilous by slippery glaciers of rum sauce, into formidable jungles of breaded veal chops threaded by sanguine and deadly streams of tomato gravy, past sluggish mires of dreadful things en casserole, over hills of corned-beef hash, across shaking quagmires of veal glace, plunging into sloughs of slaw, until, haggard, weary, digestion shattered, complexion gone, he reaches the safe haven of roast beef, medium. Once there, he never again strays, although the pompadoured, white-aproned siren sing-songs in his ear the praises of Irish stew, and pork with apple sauce. Emma McChesney was eating her solitary supper at the Berger house at Three Rivers, Michigan. She had arrived at the Roast Beef haven many years before. She knew the digestive perils of a small town hotel dining-room as a guide on the snow-covered mountain knows each treacherous pitfall and chasm. Ten years on the road had taught her to recognize the deadly snare that lurks in the seemingly calm bosom of minced chicken with cream sauce. Not for her the impenetrable mysteries of a hamburger and onions. It had been a struggle, brief but terrible, from which Emma McChesney had emerged triumphant, her complexion and figure saved.

There is no knowing why they confided these things to Sophy instead of to each other, these wedded sisters of hers. Perhaps they held for each other an unuttered distrust or jealousy. Perhaps, in making a confidante of Sophy, there was something of the satisfaction that comes of dropping a surreptitious stone down a deep well and hearing it plunk, safe in the knowledge that it has struck no one and that it cannot rebound, lying there in the soft darkness. Sometimes they would end by saying, "But you don't know what it is, Sophy. You can't. I'm sure I don't know why I'm telling you all this." But when Sophy answered, sagely, "I know; I know"-they paid little heed, once having unburdened themselves. The curious part of it is that she did know. She knew as a woman of fifty must know who, all her life, has given and given and in return has received nothing.

Emma McChesney put down the letter and smiled. "Sit down-now that you're in. And if you expect me to say, 'Knew what?' you're doomed to disappointment." T. A. Buck remained standing, both gloved hands clasping his walking stick on which he leaned. "Every time I come into this office, you're reading the latest scrawl from your son. One would think Jock's letters were deathless masterpieces. I believe you read them at half-hour intervals all week, and on Sunday get 'em all out and play solitaire with them." Emma McChesney's smile widened frankly to a grin.

Gigolo is an early twentieth-century novel by Edna Ferber, the American, novelist, author and playwright whose novels generally feature a strong female as the protagonist, although she fleshed out multiple characters in each book. She usually highlighted at least one strong secondary character who faced discrimination ethnically or for other reasons; through this technique, Ferber demonstrated her belief that people are people and that the non-so-pretty persons have the best character.

Edna Ferber (15 August 1885 - 16 April 1968), was an American novelist, author and playwright. Ferber's novels generally featured strong female protagonists, although she fleshed out multiple characters in each book. She usually highlighted at least one strong secondary character who faced discrimination ethnically or for other reasons; through this technique, Ferber demonstrated her belief that people are people and that the not-so-pretty persons have the best character. Due to her imagination in scene, characterization and plot, several theatrical and film productions have been made based on her works, including Show Boat, Giant, Saratoga Trunk, Cimarron (which won an Oscar) and the 1960 remake. Two of these works Show Boat and Saratoga Trunk - were developed into musicals. When composer Jerome Kern proposed turning the very serious Show Boat into a musical, Ferber was shocked, thinking it would be transformed into a typical light entertainment of the 1920s, and it was not until Kern explained that he and Oscar Hammerstein II wanted to create a different type of musical that Ferber granted him the rights. Saratoga (musical) was written at a much later date, after serious plots had become acceptable in stage musicals. In 1925, she won the Pulitzer Prize for her book So Big, which was made into a silent film starring Colleen Moore that same year. An early talkie movie remake followed, in 1932, starring Barbara Stanwyck and George Brent, with Bette Davis in a supporting role. It was the only movie Stanwyck and Davis ever appeared in together, and Stanwyck played Davis' mother-in-law, although only a year older in real life, which allegedly displeased her, as did the attitude of the hoydenish Davis. A 1953 remake of So Big starred Jane Wyman in the Stanwyck role, and is the version most often seen today. Ferber was a member of the Algonquin Round Table, a group of wits who met for lunch every day at the Algonquin Hotel in New York. With one hand on her sample case and the other fending off advances from salesmen, hotel clerks, and other predators, Emma holds on tightly to her reputation. Her experience has taught her that it's best to stick to roast beef, medium, rather than experiment with fancy sauces and exotic dishes. Emma McChesney and Company is the final volume of three chronicling the travels and trials of Emma McChesney.

This intensely personal chronicle of a young girl growing up Jewish in a small midwestern town is the most autobiographical of Pulitzer Prize-winning Ferber's novels, full of fine, full-blown, and fascinating characters.

Buttered Side Down Edna Ferber was a 20th century American author whose novels, short stories, and plays were extremely popular during her era. She wrote the Pulitzer Prize-winning So Big, Show Boat, Cimarron, and Giant.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.